Andy Wicks Paints Blog

Studio Update March 2012

Posted in Paintings by Andy Wicks on 11 March, 2012

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Studio work in progress Feb 2010

Posted in Paintings by Andy Wicks on 4 February, 2010

Update on the small paintings I’ve been working on since the new year (mentioned HERE). Each has been approached differently with the only constraint being a pink base coat. I brought myself a selection of 20 Michael Harding oil tubes over Christmas (££), the first time I’ve tried out quality paints and so far so good, the colours are much more vivid than I’m used to due to a higher pigment/oil ratio compared with cheaper student quality paints. Also with a wider range of colours my palette has expanded considerably, something I’m willing to do but conscious of keeping more regular darker tones in the mix. More to follow..

Exhibition Shots

Posted in Exhibitions by Andy Wicks on 14 December, 2009

Private view images

Posted in Exhibitions by Andy Wicks on 11 December, 2009

We had a fantastic opening with many faces from the past and some new contacts, we also had a reviewer from an online blog come along so hopefully a good write up will bring get us some more people through the door. We’re opening Thursday – Sunday until 20th December, 12 – 7 pm, come along to The Framery, its number 3 with the bright red door.

Here are a few shots from the opening, i’m going to try and take some proper images of the paintings soon.

The Artists (from left to right) Andy Wicks, David Northedge & Matthew Atkinson

Ready for private view

Posted in Exhibitions by Andy Wicks on 10 December, 2009

A glimpse - Matthew's new work during installation

So the work is hung, the drinks are in the buckets, the press releases are printed and the doors will soon be open. We spent an exhausting day moving paintings, drilling holes and walking around a massive cash and carry trying to find the booze but now our work here is done and we’re ready to invite all to see our efforts.

I always find hanging a show the best bit, although after some trouble with strap hangers and crumbly brick walls perhaps I would prefer to overseeing someone else slightly more patient doing the physical stuff. While I knew both Matthew and David’s old work well, they’ve both surprised and excelled in equal measure with the new pieces produced, its interesting to finally bring the paintings together into a single room and see how they sit after previously imagining them from behind the monitor.

The exhibition features a broad spectrum of contemporary painting and really sets off against the space well, embracing its intriguing features (check out that chandelier!) and challenging details. All that there is to do now is open the doors up at 6pm and hope people turn up!

ULTRAMEGAOK – Matthew Atkinson, David Northedge & Andy Wicks

Posted in Exhibitions by Andy Wicks on 6 December, 2009

Flyers –Press Release –
Ultramegaok brings together 3 emerging British painters in an exhibition at the ‘pop up space’ The Framery, a disused office within spitting distance of Hoxton Square’s galleries and bars. Matthew Atkinson, David Northedge and Andy Wicks each reference a moribund and derelict world within their work yet beyond the darkness lurks a nostalgia and warmth.

Ultramegaok refers to Soundgarden’s 1988 debut album (Ultramega OK), an album full of youthful enthusiasm which singer Chris Cornell later stated, “we really liked the songs on that record but we were disappointed in the production. We were sort of making fun of the finished product”.

Even during a global recession the numbers of artists looking to exhibit is as competitive as ever, in an art world where space is hard to come by, the falling of banks and gloom for businesses has given rise to the pop up space with artists taking advantage of the climate and showing their work any which way they can. With this exhibition the artists are forgoing the gallery system and its glossy production values to show works fresh from the studio in its unadulterated state.

In an ironic twist, many of these paintings relate to space, whether it’s physical, personal or emotional. The spaces created or revealed in these works may no longer exist having been a passing memory revived in the moment by brush mark, or erased from their physical landscape as an unwanted reminder of our past, creating new space and profit.

Matthew Atkinson presents a new body of work entitled ‘NeverNeverWorld’ in which curious and whimsically created landscapes sourced from Disneyland Tokyo are imbued with a deliberate sense of the ‘Grand Style’. Promoted by the Royal Academy the grand style was considered the most elevated form of art, dealing with moral themes in the universalizing language of classical idealism. The Landscapes depicted are found in Disneyland’s Critter Country. These are seemingly vacuous themed structures, albeit, created to provide a different and novel experience that transports the public into another world; ‘NeverNeverWorld’. Themes provide a veneer of meaning and symbolism, infusing this in the structures is deemed to make them more attractive and interesting than they would otherwise be. In doing so Disney creates a falsifying veneer of historical meaning and purpose that does not in reality exist. These paintings explore ideas of Disneyfication and Disneyization to communicate and convey the wider political debates and criticisms surrounding Disney’s autonomous (NeverNever)World.

David Northedge creates paintings formed of images which are primarily taken from art history, glossy magazines, medical books and other found resources. The images are built into each painting a layer at a time often on a large scale resulting in an excessive cocktail of the lurid and superficial. Themes of vanity and desire are delivered in slick surfaces which are the antithesis of the smaller works which expose the scaffolding of these airbrushed dreams.

Andy Wicks’s work takes reference from concrete and steel, weather systems, rust, and decay, the pieces are executed through a gestural technique which involves the dripping of liquid veils of paint contrasted with thicker applications of oil. The weeping paint serves almost as a reverse-wash, a tear-stained window through which we see geometric forms that float ominously. These paintings take iconic but unsightly buildings and reinvents their bold hulking forms as semi abstracted silhouettes set against a rusting landscape. The loss of context and surrounds simultaneously harshens and softens their architectural power, without modern new builds or empty wasteland to compete with, these piercing form become timeless in an acid dream. Wicks’ paintings have their titles taken from the list of Atlantic Hurricane names, which imbues each piece with a gender, life and a personality of their own while this arbitrary system disguises each pieces real world point of reference.